By Gabriel Marcel
The e-book of this translation of Gabriel Marcel's autobiography, En chemin, vers quel eveil? is well timed as a result of renewed relevance and significance of his lifestyles and paintings to the postmodern scenario. The relation of his autobiography to his effective initiatives is obviously tied to the unifying thread of creativity, which, because the basic measurement of the secret of being, supplies upward push to his song, drama, and philosophical mirrored image. This autobiography fosters the retrieval of the feel of the secret of being, hence reorienting philosophy as an awakening of the creativity on the center of this feeling of being. His narrative is a major and artistic interpretation of the unified experience of his lifestyles and paintings
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Additional resources for Awakenings: A Translation of Marcel's Autobiography, En Chemin, Vers Quel Eveil?
Here again, I would like to keep from exaggerating. My life was not that of some slave on a boat. I was allowed a few distractions, but less frequently, much less frequently, did I get to the theatre. Each time it was a celebration that I looked forward to far in advance. At first there was an extravaganza: Les Sept Châteaux du diable (The seven castles of the devil). The following year, Les Fourberies de Scapin (The Trickeries of Scapin) and Le Malade imaginaire (The Hypochondriac), at the Comédie-Française.
Later, short melodies of Bach which were within my reach as a beginner initiated me into a work that would play an important role in my spiritual development. Then, after Stockholm, I tackled the Romantics, especially Schumann, whom my father fervently admired, but also Grieg for whom I had an inordinate attachment, because in him I seemed to discover once again that Nordic soul which had revealed itself to me on the banks of the Saltsjöm and of the Maelar. I take this occasion to note that my father, with his beautiful baritone voice, revealed to me Schumann’s Les amours du poète (Dichterliebe), La Vie et l’amour d’une femme (Frauenliebe und leben), etc.
I even remember that he promised, if I obtained the agrégation,8 to give me a machine that would let me record them. But he didn’t keep his promise. And besides, since the tape recorder didn’t yet exist, I wonder how he could have kept it. So, among the possible existences which were refused me, there was certainly that of the musician. But how can one be sure that it would have materialized? I would later have proof that the gift of melodic creativity had been given to me, and I’ll have the opportunity to talk about it; but in the area of counterpoint or of the fugue I would probably have come up against insurmountable obstacles.